The Roland TB-303 Bass Line is a bass synthesizer with built-in sequencer manufactured by the Roland Corporation. The TB-303 is a monophonic synthesizer, which means that it can only play one note at a time; it is monotimbral; it uses a sawtooth and square wave oscillator; and it has an 18dB low pass resonant filter. The TB-303 is used by DJs and record producers to perform and program basslines. Released from 1981[1] to 1984, it had a defining role in the development of contemporary electronic dance music, the TB-303 played an important role in the development of house music, influencing Chicago house. The "squelchy" sound of the TB-303 was a key part of acid house's sound, the TB-303 is also commonly used in related dance genres such as acid techno and acid trance. In the 2010s, some DJs and record producers continue to use TB-303 units for their authentic tone and sound; as well, TB-303 basslines from vintage tracks have been sampled for use in 2010s-era songs. As with any synthesizer, the TB-303 can be processed with effects units to produce different sounds.

Contents

The TB-303 (short for "TransistorBass") was originally marketed to guitarists who wished to have bassline accompaniment to act as a guide to a song or chord progression while practicing alone. Production lasted approximately 18 months, resulting in only 10,000 units.

The TB-303 has a single audio oscillator, which may be configured to produce either a sawtooth wave or a square wave, the square wave is derived from the sawtooth waveform using a simple, single-transistor waveshaping circuit.[2] This produces a sound that is subtly different from the square waveform created by the dedicated hardware found in most analog synthesizers, it also includes a simple envelope generator, with a decay control only. A lowpass filter is also included, with -24dB per octave attenuation, and controls for cutoff frequency, resonance, and envelope modulation parameters. It is a common misconception that the filter is a 3 pole 18 dB per octave design when in fact it is 4-pole 24 dB per octave.[3]

The TB-303 sequencer has some unique features that contribute to its characteristic sound, during the programming of a sequence, the user can determine whether a note should be accented, and whether it should employ portamento, a smooth transition to the following note. The portamento circuitry employs a fixed slide time, meaning that whatever the interval between notes, the time taken to reach the correct pitch is always the same, the accent circuitry, as well as increasing the amplitude of a note, also emphasizes the EG filter's cutoff and resonance, resulting in a distinctive, hollow "wow" sound at higher resonance settings.

The instrument also features a 'simple' step-time method for entering note data into the 16-step programmable sequencer, this was notoriously difficult to use, and would often result in entering a different sequence than the one that had been intended. Some users also take advantage of a low voltage failure mode, wherein patterns that are programmed in memory get completely scrambled if the batteries are removed for a time.

"Rip It Up" by Scottish post-punk band Orange Juice, which reached #8 in the UK singles chart in February 1983, was the first UK hit to feature the synthesiser, though it was predated by the 1982 Heaven 17 single "Let Me Go".[4] Another early use of a TB-303, especially in conjunction with a Roland drum machine, is now attributed to pioneering Indian musician Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat, an album of original electronic disco compositions recorded using the TB-303 and TR-808 in 1982, pre-dating the sound of acid house by at least half a decade, but forgotten in obscurity until his rediscovery in the early 21st century.[5]

The "acid" sound is typically produced by playing a repeating note pattern on the TB-303, while altering the filter's cutoff frequency, resonance, and envelope modulation. The TB-303's accent control modifies a note's volume, filter resonance, and envelope modulation, allowing further variations in timbre. A distortion effect, either by using a guitar effects pedal or overdriving the input of an audio mixer, is commonly used to give the TB-303 a denser, noisier timbre—as the resulting sound is much richer in harmonics. Popular pedals include pedals by Boss and DOD Electronics pedals like the Grunge or Death Metal.

Rubberduck[10] by d-lusion[11] (now a free download[10]) is a bass synthesizer, roughly based on the TB-303, released for Windows 95 in 1996.

In 1998, Propellerhead Software's ReBirthsoftware synthesizer emulated the TB-303, 808, and later 909 sounds. Roland contacted Propellerhead to give the company an unofficial "thumbs up" which Propellerhead considered as the Roland "Seal of Approval",[12] as of September 2005, support for ReBirth has been discontinued by Propellerhead software, and the software was available online[13] as a free download until 2016.[14] In April 2010, a new paid version of ReBirth was re-released[15][16] as a paid app[17] for the iPhone[18] and iPod Touch. In November 2010 a visually revamped and modernized version was made available on the iPad.[19][20] Propellerhead disabled ReBirth For iOS On June 1, 2013.[21][22][23][24]

Other notable softsynth versions include the TS-404 synthesizer found bundled in certain versions of FL Studio, however it was removed in 2015 with the release of FL Studio 12.[25] and The "Bass Line" plugin from AudioRealism. It supports both the VST and AU standards. Native Instrument's flagship softsynth Massive, as well as many other softsynths, contain filters modelled after that of the TB-303, allowing users to create their own realistic-sounding acid patches. On 19 October 2016, Image Line released a new software emulation of the TB-303, named Transistor Bass,[26] this release was accompanied with a controversial video of the original TB-303 being destroyed with a circular saw, however this turned out to be a hoax, with the TB-303 actually turning out to be a Cyclone Analogical TT-303 BassBot, a commercial hardware clone of the original.[27]

The original TB-303 became a staple for world traveling DJs, its compact size and tone suited both air travel and the DJ booth. The wear and tear of 200 gigs a year and travel caused some to commission custom CNC cases cut from aluminum.[36] Electronic modifications included expanded memory, the use of lithium batteries to reduce weight and increase reliability, tonal modifications to increase envelope length, add distortion, and increase the lower bass range of filters. Heavy use in dusty and liquid hazard environments led to replacement of worn thirty-year-old switches with new sealed switches for higher reliability, the electronic music equivalent of a skilled luthier supplied these expensive modifications to a willing clientele in units called the "Devilfish","The Borg" and "Acidlab". These customized TB-303s changed hands in some cases at over $3,000, the price of increasingly worn out TB-303 rose steadily with demand. High prices were paid for ones with cracked cases, or circuit boards damaged by the acid corrosion eating traces and wires, caused by old batteries left in stored units.

By the middle of the 1990s, demand for the TB-303 surged within the electronic dance music scene, as there were never many TB-303s to begin with, many small synthesizer companies cropped up and started to develop their own TB-303 hardware clones. Many were rack designs, aimed at studios, not travelling DJs, this new wave of TB-303 clones began with a company called Novation Electronic Music Systems, who released their portable Bass Station keyboard in 1994.[37][38] Many other TB-303 "clones" followed, including Future Retro's 777, Syntecno's TeeBee, Doepfer's MS-404, MAM MB33, Freebass FB-383, Future Retro's Revolution, Acidlab Bassline, Acidcode ML-303, Oakley TM3030, Analogue Solutions Trans-Bass-Xpress and Will Systems MAB-303.

As the popularity of these new TB-303 clones grew, Roland, the original TB-303 manufacturer, finally took notice and released their own TB-303 "clone" in 1996, the MC-303 Groovebox, despite Roland's efforts, their new "303 clone" was an entirely new product that had almost nothing to do with the original TB-303, with the exception of a few bass samples and the familiar interface design. The most obvious difference was the inclusion of an inexpensive digital synthesizer, rather than the analog circuitry of the TB-303.

Influenced by pioneer TB-303 modifier Robin Whittle, Limor Fried, an MIT engineering graduate and a group of friends with a high level of skill in electronics and software began to study the TB-303. Taking Fatboy Slim's "Everybody Needs A 303" to heart by 2004 the group at ladyada.net began to produce a DIY kit that was very very close to the original sound and drew upon modern parts and a handful of hard to find parts. It is a deliberately open sourcedo-it-yourself hardware solution called the x0xb0x,[39] using most of the original components in the synthesizer section for a very authentic sound. The sequencer section differs from the original TB-303, adding support for MIDI and USB interfaces as well as an alternate event entry interface with different operating systems, such as SOKKos, also open sourced and community written.

Modifications of the original x0xb0x design inspired a number of designers who went on to careers making software and instruments and helped raise the profile of electrical engineering and home-based circuit design and pcb production generally among young talented individuals who were attracted to the idea of performing with instruments they had personally built. Community forums provided a nurturing environment online for those who wanted to make their own TB-303, for under $500 an individual now had access to a superior machine at the quarter of the price of a used TB-303 and the knowledge they gained in building it.

Emerging from the DIY kit movement was a modification by a California engineer named Brian Castro which led him to design secondary and replacement pcb kits, his x0xi0 kit adds a second tuneable oscillator, a noise source, a second ADSR, an AR for accent, FM and cross-modulation,momentary switches, extended range audio and extreme envelope ranges,sophisticated routing, distortion and overdrive. It locked together three types of synthesizers communication signals: modular cv & gate voltages, DIN sync timing clocks for TR-909 and TR-808 drum machines, and MIDI.[40]

In October 2015 Paul Barker of Din Sync announced[41] the RE-303 project as an attempt to make an authentic DIY replica and showed a working reversed engineered prototype.

In the fall of 2012, a Hong Kong-based TB-303 clone appeared which, unlike previous clones, looks and feels remarkably similar to an original TB-303. Cyclone Analogic's TT-303 Bass Bot replicates the original TB-303 circuit with modern surface-mount components while adding MIDI connectivity and replacing the original battery-backed RAM with flash memory. Unlike RAM, flash memory does not require a battery to retain information while powered off; in the original TB-303, the backup battery tends to leak over time, causing corrosion. It does not support DIN sync; however, MIDI can be used instead.[42] The TT-303 also includes the custom "InstaDJ" firmware, which allows users to generate random patterns with seven different "personalities".[43] Robin Whittle (designer of the Devilfish modification for the TB-303) is currently exploring modifications for the TT-303.

In 2013, Korg released the Volca Bass, which takes some style cues from the 303 but does not copy the original's form factor or sound generation circuitry,[44] the Korg Volca Bass uses a different filter, and it lacks an accent control. It also features three oscillators, as compared to the 303's single oscillator.

In 2014, Roland released the TB-3 Touch Bassline synthesizer, a digital "re-imagination" (rather than a replication) of the 303, it features a redesigned interface and additional sounds alongside digital recreations of the original 303 sound set.

In 2015, Abstrakt Instruments released the Avalon Bassline synthesizer, an expanded version of the original TB-303 using the original parts and layout; in addition to the usual controls,the Avalon includes a sub oscillator, an additional modulation envelope, and numerous other enhancements. It also includes a filter cartridge plugin system to swap in additional filters.

In 2016, Roland introduced the TB-03, a module with a similar look and feel to the original 303, but powered by the digital sound engine of the TB-3, the module is part of Roland's Boutique lineup.

The TB-303 and TR-909 were used in Public Energy's track "Three O' Three" on Holland's Stealth Records label in 1992 (#STR 3492).

The TB-303 is referenced by Dub FX and Sirius in their song, "Slope of the famous TB-303" off the album A Crossworlds.

The TB-303, along with other x0x models such as the TR-909, were referenced in the anime series Eureka Seven/Psalms of Planets as the names of the main characters' Mecha. They were used in the making of the Eureka Seven/Psalms of Planets ODST in 2005-06.

The TB-303 is referenced in Dada Life's song One last night on earth. "...let the 303 be free."

Manufacturing
–
Manufacturing is the value added to production of merchandise for use or sale using labour and machines, tools, chemical and biological processing, or formulation. Manufacturing engineering or manufacturing process are the steps through which raw materials are transformed into a final product, the manufacturing process begins with the product desig

Roland Corporation
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The Roland Corporation is a Japanese manufacturer of electronic musical instruments, electronic equipment and software. It was founded by Ikutaro Kakehashi in Osaka on April 18,1972, in 2005, Rolands headquarters relocated to Hamamatsu in Shizuoka Prefecture. Today it has factories in Italy, Taiwan, Japan, as of March 31,2010, it employed 2,699 emp

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Roland E09 keyboard

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Roland D-50

3.
Roland Fantom X6 Top View

Polyphony and monophony in instruments
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Polyphony is a property of musical instruments that means that they can play multiple notes simultaneously. Instruments featuring polyphony are said to be polyphonic, instruments that are not capable of polyphony are monophonic or paraphonic. A monophonic synthesizer or monosynth is a synthesizer that produces one note at a time. Well-known monosyn

Timbre
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The physical characteristics of sound that determine the perception of timbre include spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques, for example, a violinist can use different bowing styles or play on different parts of the strin

1.
Sorry, your browser either has JavaScript disabled or does not have any supported player. You can download the clip or download a player to play the clip in your browser.

Electronic oscillator
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An electronic oscillator is an electronic circuit that produces a periodic, oscillating electronic signal, often a sine wave or a square wave. Oscillators convert direct current from a supply to an alternating current signal. They are widely used in electronic devices. Oscillators are often characterized by the frequency of their output signal and

1.
1 MHz electronic oscillator circuit which uses the resonant properties of an internal quartz crystal to control the frequency. Provides the clock signal for digital devices such as computers.

3.
(left) Typical block diagram of a negative resistance oscillator. In some types the negative resistance device is connected in parallel with the resonant circuit. (right) A negative resistance microwave oscillator consisting of a Gunn diode in a cavity resonator. The negative resistance of the diode excites microwave oscillations in the cavity, which radiate out the aperture into a waveguide.

4.
A 120 MHz oscillator from 1938 using a parallel rod transmission line resonator (Lecher line). Transmission lines are widely used for UHF oscillators.

Low-frequency oscillation
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Low-frequency oscillation is an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines, audio effects such as vibrato, tremolo and phasing are examples. The abbreviation LFO is also often used to refer to low-frequency oscillators themselves. Low-

1.
LFO section of a modern synthesizer

Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers witho

Analog synthesizer
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An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube, after the 1960s, analog synthesizers were built using operational amplifier integrated circuits, and used pot

Audio filter
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An audio filter is a frequency dependent amplifier circuit, working in the audio frequency range,0 Hz to beyond 20 kHz. Audio filters can amplify, pass or attenuate some frequency ranges, common types include low-pass filters, which pass through frequencies below their cutoff frequencies, and progressively attenuates frequencies above the cutoff fr

1.
Digital domain parametric equalisation

Keyboard expression
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Acoustic pianos, such as upright and grand pianos, are velocity-sensitive—the faster the key strike, the harder the hammer hits the strings. Baroque-style clavichords and professional synthesizers are after-touch-sensitive—applied force on the key after the initial strike produces effects such as vibrato or swells in volume, tracker pipe organs and

1.
The Steinway brand of piano is a highly regarded instrument

2.
A modern reproduction of a Baroque-era clavichord

3.
A 2000s-era digital keyboard

4.
A tracker pipe organ uses a mechanical action; as such, when the keys are only partly depressed, the volume and tone are changed.

Computer data storage
–
Computer data storage, often called storage or memory, is a technology consisting of computer components and recording media used to retain digital data. It is a function and fundamental component of computers. The central processing unit of a computer is what manipulates data by performing computations, in practice, almost all computers use a stor

Sound effect
–
In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are t

Musical keyboard
–
A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Depressing a key on the causes the instrument to produce sounds, either by mechanically striking a string or tine, plucking a string, causing air to flow through a pipe. On electric and electronic keyboards, depressing a key connects a circuit, since the m

3.
Keyboard of a Letter-Printing Telegraph Set built by Siemens & Halske in Saint Petersburg, Russia, ca. 1900

4.
Frequencies of the audible range on a twelve and eight equal tempered scale

Bass synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers witho

Music sequencer
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This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and these new sequencers could also be used to control external synthesizers, espec

Monophony
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In music, monophony is the simplest of musical textures, consisting of a melody, typically sung by a single singer or played by a single instrument player without accompanying harmony or chords. Many folk songs and traditional songs are monophonic, a melody is also considered to be monophonic if a group of singers sings the same melody together at

DJ
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A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are

4.
A young woman plays a gramophone in an air raid shelter in north London (1940).

Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select th

Bassline
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It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are si

2.
A German double bass section in 1952. The player to the left is using a German bow.

3.
TB-303 front panel

Electronic dance music
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Electronic dance music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix, EDM producers also perform their music live in a concert or festival setting in what is sometimes called a liv

3.
An EDM festival in 2013 with over 100,000 attendees, exhibiting the large crowds and dramatic lighting common at such events since the early 2000s.

House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. Hou

Chicago house
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Chicago house refers to house music produced during the mid to late 1980s within Chicago. The term is used to refer to the first ever house music productions. Following Chicagos Disco Demolition Night in mid-1979, disco musics mainstream popularity fell into decline, in the early 1980s, fewer and fewer disco records were being released, but the gen

Acid house
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave sce

2.
Beat Dis by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.

Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Mu

Transistor
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A transistor is a semiconductor device used to amplify or switch electronic signals and electrical power. It is composed of semiconductor material usually with at least three terminals for connection to an external circuit, a voltage or current applied to one pair of the transistors terminals controls the current through another pair of terminals.

Bass (sound)
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Bass describes tones of low frequency, pitch and range from 16-256 Hz. In musical compositions, such as songs and pieces, these are the lowest parts of the harmony, in choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the lines are played by the double bass and cellos, bassoon or cont

Accompaniment
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Accompaniment is the musical parts which provide the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music, in homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is s

Chord progression
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A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note

3.
Blues progressions influenced a great deal of 20th century American popular music

4.
The Mills Brothers ' recording of " Till Then " looked forward both to the end of World War II and to the popular music of the 1950s. (Courtesy of the Fraser MacPherson estate c/o Guy MacPherson)

Oscillator
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Oscillation is the repetitive variation, typically in time, of some measure about a central value or between two or more different states. The term vibration is used to describe mechanical oscillation. Familiar examples of oscillation include a swinging pendulum and alternating current power, the simplest mechanical oscillating system is a weight a

1.
Experimental Setup of Huygens synchronization of two clocks

2.
Two pendulums with the same period fixed on a string act as pair of coupled oscillators. The oscillation alternates between the two.

Sawtooth wave
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The sawtooth wave is a kind of non-sinusoidal waveform. It is so named based on its resemblance to the teeth of a saw with a zero rake angle. The convention is that a sawtooth wave ramps upward and then sharply drops, however, in a reverse sawtooth wave, the wave ramps downward and then sharply rises. It can also be considered the case of an asymme

1.
A bandlimited sawtooth wave pictured in the time domain (top) and frequency domain (bottom). The fundamental is at 220 Hz (A3).

Square wave
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A square wave is a non-sinusoidal periodic waveform, in which the amplitude alternates at a steady frequency between fixed minimum and maximum values, with the same duration at minimum and maximum. The transition between minimum to maximum is instantaneous for a square wave, this is not realizable in physical systems. Square waves are encountered i

Envelope generator
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers witho

ADSR envelope
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers witho

Lowpass filter
–
A low-pass filter is a filter that passes signals with a frequency lower than a certain cutoff frequency and attenuates signals with frequencies higher than the cutoff frequency. The exact frequency response of the filter depends on the filter design, the filter is sometimes called a high-cut filter, or treble cut filter in audio applications. A lo

Decibel
–
The decibel is a logarithmic unit used to express the ratio of two values of a physical quantity. One of these values is often a reference value, in which case the decibel is used to express the level of the other value relative to this reference. When used in way, the decibel symbol is often qualified with a suffix that indicates the reference qua

Octave
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In music, an octave or perfect octave is the interval between one musical pitch and another with half or double its frequency. It is defined by ANSI as the unit of level when the base of the logarithm is two. The octave relationship is a phenomenon that has been referred to as the basic miracle of music. The most important musical scales are writte

Portamento
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In music, portamento is a pitch sliding from one note to another. It is also applied to one type of glissando as well as to the function of synthesizers. In the first example, Rodolfos first aria in La Sonnambula, the second example, Judits first line in Duke Bluebeards Castle, employs an inclining, wavy line between the fourth and fifth notes to i

Roland TR-808
–
The Roland TR-808 Rhythm Composer, often referred to simply as the 808, is a drum machine introduced by the Roland Corporation in 1980 and discontinued in 1983. It was one of the earliest programmable drum machines, with which users could create their own rather than having to use presets. Unlike its nearest competitor, the expensive and sample-bas

1.
The Roland TR-808 Rhythm Composer, produced 1980–1984

Roland Jupiter-8
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The Jupiter-8, or JP-8, is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland Corporation in early 1981. The Jupiter-8 was Rolands flagship synthesizer for the first half of the 1980s, the Jupiter-8 is an 8-voice polyphonic analog synthesizer. Features include adjustable polyphonic portamento and a function for infinite s

2.
The Roland JP-08 copies the Jupiter-8 voice architecture

Jesse Saunders
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Jesse Saunders is an American DJ, record producer, film producer and entrepreneur. He is one of the pioneers of music, often cited as the originator of House music by critics. His 1984 single, On & On, co-written with Vince Lawrence, was first record with a house DJ as the artist that was pressed, Chicago Mayor Richard M. Daley declared July 17,199

1.
Jesse Saunders

Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a dr

4.
Seeburg/Gulbransen Rhythm Prince using mechanical wheel, as seen on bailed out left panel

Korg Poly-61
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The KORG Poly-61 is a programmable polyphonic synthesizer released by Korg in 1982, as a successor to the Polysix. It was notable for being Korgs first knobless synthesizer - featuring a push-button interface for programming, dispensing from the Polysixs knobs, the Poly-61 also moved to a hybrid tone-generation system, using digitally controlled an

1.
Poly-61

Roland TR-707
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The Roland TR-707 Rhythm Composer is a programmable digital sample-based drum machine built by the Roland Corporation, beginning in 1984. The TR-707 was a staple in early music, particularly with acid house. It is also a staple of almost all electronically produced Arabic pop music, because the TR-707 offers a limited number of instruments sampled

1.
Roland TR-707

Rip It Up (Orange Juice song)
–
Rip It Up was a 1983 single by Scottish post-punk band Orange Juice. It was the single to be released from their 1982 album of the same name. The song became the bands only UK top 40 success, reaching no.8 in the chart, rip It Up signalled a departure from the sound of the bands earlier singles, with Chic-influenced guitars and using a synthesiser

1.
"Rip It Up"

Heaven 17
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Heaven 17 are an English new wave and synth-pop band that formed in Sheffield in 1980. The band were a trio for most of their career, composed of Martyn Ware, Ian Craig Marsh, although most of the bands music was recorded in the 1980s, they have occasionally reformed to record and perform, playing their first ever live concerts in 1997. Marsh left

Let Me Go (Heaven 17 song)
–
Let Me Go is a single by Heaven 17, taken from their second album The Luxury Gap. It actually first appeared on the bands American self-titled compilation, Heaven 17 and it reached #41 on the UK singles chart, the lowest chart placement among the singles from that album but their highest at the time of the singles release. The song also spent five

1.
"Let Me Go"

Disc jockey
–
A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are

4.
A young woman plays a gramophone in an air raid shelter in north London (1940).

Electronic music
–
In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and compute

Chicago
–
Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-la

Overdrive (music)
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Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain. Distortion is most commonly used with the guitar, but may also be used with other electric instruments. Guitarists playing electric blues originally obtained an overdriven sound by turnin

4.
A pair of 6L6GC power valves, often used in American-made amplifiers

Hardfloor

1.
Hardfloor in 2007

Josh Wink

1.
Josh Wink performing live, 13 May 2007.

Acid House
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave sce

1.
Pushing a person in a swing is a common example of resonance. The loaded swing, a pendulum, has a natural frequency of oscillation, its resonant frequency, and resists being pushed at a faster or slower rate.

2.
NMR Magnet at HWB-NMR, Birmingham, UK. In its strong 21.2- tesla field, the proton resonance is at 900 MHz.

1.
MIDI allows multiple instruments to be played from a single controller (often a keyboard, as pictured here), which makes stage setups much more portable. This system fits into a single rack case, but prior to the advent of MIDI would have required four separate full-size keyboard instruments, plus outboard mixing and effects units.

2.
MIDI connectors and a MIDI cable.

3.
Two-octave MIDI controllers are popular for use with laptop computers, due to their portability. This unit provides a variety of real-time controllers, which can manipulate various sound design parameters of computer-based or standalone hardware instruments, effects, mixers and recording devices.

4.
MIDI wind controllers can produce expressive, natural-sounding performances in a way that is difficult to achieve with keyboard controllers.

USB

1.
USB logo on the head of a standard-A plug, the most common USB plug

1.
Manufacturing
–
Manufacturing is the value added to production of merchandise for use or sale using labour and machines, tools, chemical and biological processing, or formulation. Manufacturing engineering or manufacturing process are the steps through which raw materials are transformed into a final product, the manufacturing process begins with the product design, and materials specification from which the product is made. These materials are modified through manufacturing processes to become the required part. Manufacturing takes turns under all types of economic systems, in a free market economy, manufacturing is usually directed toward the mass production of products for sale to consumers at a profit. In a collectivist economy, manufacturing is more directed by the state to supply a centrally planned economy. In mixed market economies, manufacturing occurs under some degree of government regulation, modern manufacturing includes all intermediate processes required the production and integration of a products components. Some industries, such as semiconductor and steel manufacturers use the term fabrication instead, the manufacturing sector is closely connected with engineering and industrial design. Examples of major manufacturers in North America include General Motors Corporation, General Electric, Procter & Gamble, General Dynamics, Boeing, Pfizer, examples in Europe include Volkswagen Group, Siemens, and Michelin. Examples in Asia include Sony, Huawei, Lenovo, Toyota, Samsung, in its earliest form, manufacturing was usually carried out by a single skilled artisan with assistants. In much of the world, the guild system protected the privileges. Before the Industrial Revolution, most manufacturing occurred in rural areas, entrepreneurs organized a number of manufacturing households into a single enterprise through the putting-out system. Toll manufacturing is an arrangement whereby a first firm with specialized equipment processes raw materials or semi-finished goods for a second firm, manufacturing provides important material support for national infrastructure and for national defense. On the other hand, most manufacturing may involve significant social and environmental costs, the clean-up costs of hazardous waste, for example, may outweigh the benefits of a product that creates it. Hazardous materials may expose workers to health risks and these costs are now well known and there is effort to address them by improving efficiency, reducing waste, using industrial symbiosis, and eliminating harmful chemicals. The negative costs of manufacturing can also be addressed legally, developed countries regulate manufacturing activity with labor laws and environmental laws. Across the globe, manufacturers can be subject to regulations and pollution taxes to offset the costs of manufacturing activities. Labor unions and craft guilds have played a role in the negotiation of worker rights. Environment laws and labor protections that are available in developed nations may not be available in the third world, tort law and product liability impose additional costs on manufacturing

2.
Roland Corporation
–
The Roland Corporation is a Japanese manufacturer of electronic musical instruments, electronic equipment and software. It was founded by Ikutaro Kakehashi in Osaka on April 18,1972, in 2005, Rolands headquarters relocated to Hamamatsu in Shizuoka Prefecture. Today it has factories in Italy, Taiwan, Japan, as of March 31,2010, it employed 2,699 employees. It has existed in different forms since 1960, making it relatively old among still-operating manufacturers of musical electronics, known for hundreds of popular synthesizers, drum machines, and other instruments, Roland has been one of the top names in professional music equipment since the late 1970s. In 2014, Roland Corporation was subject to a management buyout by Rolands CEO Junichi Miki, Kakehashi founded Ace Electronic Industries in 1960, a manufacturer of numerous combo organs, guitar amplifiers, and effects pedals. He was also contracted by Hammond to produce machines for the companys line of home organs. In 1973, Kakehashi cut ties with companies to found Roland. As with many Japanese start-ups of the period, the name Roland was selected for export purposes as Kakehashi was interested in a name that was easy to pronounce for his worldwide target markets. Rumour has long circulated that he named his company after the French epic poem La Chanson de Roland, in reality, the name Roland was found in a telephone directory. Kakehashi opted for it as he was satisfied with the simple two-syllable word, the letter R was chosen because it was not used by many other music equipment companies, and would therefore stand out in trade show directories and industry listings. Kakehashi did not learn of The Song Of Roland until later, Roland markets products under a number of brand names, each of which are used on products geared toward a different niche. The Roland brand is used on a range of products including synthesizers, digital pianos, electronic drum systems, dance/DJ gear, guitar synthesizers, amplifiers. BOSS is a used for products geared toward guitar players and is used for guitar pedals, effects units, rhythm and accompaniment machines. Edirol was a line of professional video-editing and video-presentation systems, as well as digital audio recorders. Edirol also had Desktop Media products, more production-oriented, and included computer audio interfaces, mixers, Roland Systems Group is a line of professional commercial audio and video products. Rodgers was founded in 1958 as a company and survives today as a subsidiary of Roland, still manufacturing high-quality electric, electronic. Cakewalk music software company is a partner of Roland’s. In January 2008, Roland announced the purchase of controlling interest in the company, in 2013, ownership of Cakewalk passed from Roland to Gibson Guitar Corporation

3.
Polyphony and monophony in instruments
–
Polyphony is a property of musical instruments that means that they can play multiple notes simultaneously. Instruments featuring polyphony are said to be polyphonic, instruments that are not capable of polyphony are monophonic or paraphonic. A monophonic synthesizer or monosynth is a synthesizer that produces one note at a time. Well-known monosynths include the Minimoog, the Roland TB-303, and the Korg Prophecy, duophonic synthesizers, such as the ARP Odyssey and Formanta Polivoks built in the 1970s and 1980s respectively, have a capability to independently play two pitches at a time. These synthesizers have at least two oscillators that are controllable, and a duophonic keyboard that can generate two control voltage signals for the lowest- and highest-note. When two or more keys are pressed simultaneously, the lowest- and highest-note will be heard, when only one key is pressed, both oscillators are assigned to one note, possibly with a more complex sound. The earliest polyphonic synthesizers were built in the late-1930s, but the concept did not become popular until the mid-1970s, harald Bodes Warbo Formant Orguel, developed in 1937, was an archetype of a voice allocation polyphonic synthesizer. Novachord by Hammond Organ Company, released in 1939, is a product of frequency divider organs. It uses octave divider technology to generate polyphony, and about 1,000 Novachords were manufactured until 1942, using an octave divider a synthesizer needs only 12 oscillators - one for each note in the musical scale. The additional notes are generated by dividing down the outputs of these oscillators, to produce a note one octave lower, the frequency of the oscillator is divided by two. Polyphony is achieved so long as one of each note in the scale is played simultaneously. One notable early polyphonic synthesizer was the Sequential Circuits Prophet 5, six-voice polyphony was standard by the middle 1980s. With the advent of synthesizers, 16-voice polyphony became standard by the late 1980s. 64-voice polyphony was common by the middle 1990s and 128-note polyphony arrived shortly after, there are several reasons for providing such large numbers of simultaneous notes, Even with only ten fingers, it is possible to play more than ten notes at once. Notes may continue to sound even after a key is released, the synthesizers resources may still be in use to produce the sound of the previously struck notes tapering off, especially when a sustain pedal is used. A sound may be generated by more than one oscillator or sound-source to allow more complicated sounds to be produced, a synthesizer with 16 oscillators may be capable of 16-note polyphony only when simple, single-oscillator sounds are produced. If a particular patch requires four oscillators, then the synthesizer is only capable of four-note polyphony, synthesizers may be configured to produce multiple timbres, particularly necessary when sounds are layered or sequenced. Multitimbral instruments are always polyphonic but polyphonic instruments are not necessarily multitimbral, some multitimbral instruments have a feature which allows the user to specify the amount of polyphony reserved or allowed for each timbre

4.
Timbre
–
The physical characteristics of sound that determine the perception of timbre include spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques, for example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres. On electric guitar and electric piano, performers can change the timbre using effects units, in simple terms, timbre is what makes a particular musical sound have a different sound from another, even when they have the same pitch and loudness. For instance, it is the difference in sound between a guitar and a playing the same note at the same volume. Experienced musicians are able to distinguish between different instruments of the type based on their varied timbres, even if those instruments are playing notes at the same pitch. Tone quality and tone color are synonyms for timbre, as well as the attributed to a single instrument. However, the texture can also refer to the type of music, such as multiple. The sound of an instrument may be described with words such as bright, dark, warm, harsh. There are also colors of noise, such as pink and white, in visual representations of sound, timbre corresponds to the shape of the image. The Acoustical Society of America Acoustical Terminology definition 12, Timbre has been called. the psychoacousticians multidimensional waste-basket category for everything that cannot be labeled pitch or loudness. Many commentators have attempted to decompose timbre into component attributes, the richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct frequencies. The lowest frequency is called the frequency, and the pitch it produces is used to name the note. The dominant frequency is the frequency that is most heard, for example, the dominant frequency for the transverse flute is double the fundamental frequency. Other significant frequencies are called overtones of the frequency, which may include harmonics. Harmonics are whole number multiples of the frequency, such as ×2, ×3, ×4. There are also sometimes subharmonics at whole number divisions of the fundamental frequency, most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band is played, each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, the timbre of a sound is also greatly affected by the following aspects of its envelope, attack time and characteristics, decay, sustain, release and transients

Timbre
–
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5.
Electronic oscillator
–
An electronic oscillator is an electronic circuit that produces a periodic, oscillating electronic signal, often a sine wave or a square wave. Oscillators convert direct current from a supply to an alternating current signal. They are widely used in electronic devices. Oscillators are often characterized by the frequency of their output signal and this term is typically used in the field of audio synthesizers, to distinguish it from an audio frequency oscillator. An audio oscillator produces frequencies in the range, about 16 Hz to 20 kHz. An RF oscillator produces signals in the frequency range of about 100 kHz to 100 GHz. Oscillators designed to produce a high-power AC output from a DC supply are usually called inverters, there are two main types of electronic oscillator, the linear or harmonic oscillator and the nonlinear or relaxation oscillator. The harmonic, or linear, oscillator produces a sinusoidal output, when the power supply to the amplifier is first switched on, electronic noise in the circuit provides a non-zero signal to get oscillations started. The noise travels around the loop and is amplified and filtered until very quickly it converges on a wave at a single frequency. RC oscillators are used to generate lower frequencies, for example in the audio range. Common types of RC oscillator circuits are the phase shift oscillator, in an LC oscillator circuit, the filter is a tuned circuit consisting of an inductor and capacitor connected together. Charge flows back and forth between the plates through the inductor, so the tuned circuit can store electrical energy oscillating at its resonant frequency. There are small losses in the circuit, but the amplifier compensates for those losses and supplies the power for the output signal. Typical LC oscillator circuits are the Hartley, Colpitts and Clapp circuits, in a crystal oscillator circuit the filter is a piezoelectric crystal. The crystal mechanically vibrates as a resonator, and its frequency of vibration determines the oscillation frequency, crystals have very high Q-factor and also better temperature stability than tuned circuits, so crystal oscillators have much better frequency stability than LC or RC oscillators. Crystal oscillators are the most common type of linear oscillator, used to stabilize the frequency of most radio transmitters, crystal oscillators often use the same circuits as LC oscillators, with the crystal replacing the tuned circuit, the Pierce oscillator circuit is also commonly used. Quartz crystals are generally limited to frequencies of 30 MHz or below, other types of resonator, dielectric resonators and surface acoustic wave devices, are used to control higher frequency oscillators, up into the microwave range. For example, SAW oscillators are used to generate the signal in cell phones

Electronic oscillator
–
1 MHz electronic oscillator circuit which uses the resonant properties of an internal quartz crystal to control the frequency. Provides the clock signal for digital devices such as computers.
Electronic oscillator
–
A popular op-amp relaxation oscillator.
Electronic oscillator
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(left) Typical block diagram of a negative resistance oscillator. In some types the negative resistance device is connected in parallel with the resonant circuit. (right) A negative resistance microwave oscillator consisting of a Gunn diode in a cavity resonator. The negative resistance of the diode excites microwave oscillations in the cavity, which radiate out the aperture into a waveguide.
Electronic oscillator
–
A 120 MHz oscillator from 1938 using a parallel rod transmission line resonator (Lecher line). Transmission lines are widely used for UHF oscillators.

6.
Low-frequency oscillation
–
Low-frequency oscillation is an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines, audio effects such as vibrato, tremolo and phasing are examples. The abbreviation LFO is also often used to refer to low-frequency oscillators themselves. Low-frequency oscillation as a concept was first introduced in the modular synths of the 1960s and 70s, often the LFO effect was accidental, so there were myriad configurations that could be patched by the synth operator. LFOs have since appeared in form on almost every synthesizer. More recently other electronic instruments, such as samplers and software synthesizers, have included LFOs to increase their sound alteration capabilities. The primary oscillator circuits of a synthesizer are used to create the audio signals, a LFO is a secondary oscillator that operates at a significantly lower frequency, typically below 20 Hz. This lower frequency or control signal is used to modulate another components value, like a standard oscillator, this usually takes the form of a periodic waveform, such as a sine, sawtooth, triangle or square wave. Also like an oscillator, LFOs can incorporate any number of waveform types, including user-defined wavetables, rectified waves. Using a low-frequency oscillation signal as a means of modulating another signal introduces complexities into the resulting sound, the specifics vary greatly depending on the type of modulation, the relative frequencies of the LFO signal and the signal being modulated, et cetera. An LFO can be routed to control, for example, the frequency of the oscillator, its phase, stereo panning, filter frequency. When routed to control pitch, an LFO creates vibrato, when an LFO modulates amplitude, it creates tremolo. Electronic musicians use LFO for a variety of applications and they may be used to add simple vibrato or tremolo to a melody, or for more complex applications such as triggering gate envelopes, or controlling the rate of arpeggiation. Differences between LFO rates also account for a number of commonly heard effects in modern music, a very low rate can be used to modulate a filters cutoff frequency, thereby providing the characteristic gradual sensation of the sound becoming clearer or closer to the listener. Alternatively, a high rate can be used for bizarre rippling sound effects, due to the popularization of these genres, the LFO wobble is now being found in other forms of electronic dance music such as house music. The British electronic music group LFO take their name directly from the low-frequency oscillator

Low-frequency oscillation
–
LFO section of a modern synthesizer

7.
Synthesizer
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers

8.
Analog synthesizer
–
An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube, after the 1960s, analog synthesizers were built using operational amplifier integrated circuits, and used potentiometers to adjust the sound parameters. Analog synthesizers also use low-pass filters and high-pass filters to modify the sound, the earliest synthesizers used a variety of thermionic-valve and electro-mechanical technologies. Another notable early instrument is the Hammond Novachord, first produced in 1938, early analog synthesizers used technology from electronic analog computers and laboratory test equipment. Synthesizer modules in early synthesizers included voltage-controlled oscillators, voltage-controlled filters. Additionally, they used envelope generators, low-frequency oscillators, and ring modulators, some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, famous modular synthesizer manufacturers included Buchla & Associates, Moog Music, ARP Instruments, Inc. and Electronic Music Studios. Moog established standards recognized worldwide for control interfacing on analog synthesizers, using a logarithmic 1-volt-per-octave pitch control and these control signals were routed using the same types of connectors and cables that were used for routing the synthesized sound signals. A specialized form of analog synthesizer is the analog vocoder, based on equipment developed for speech synthesis, vocoders are often used to make a sound that resembles a musical instrument talking or singing. Patch cords were expensive, could be damaged by use, and made complex patches difficult, thus, later analog synthesizers used the same building blocks, but integrated them into single units, eliminating patch cords in favour of integrated signal routing systems. The most popular of these was the Minimoog, though less flexible than a modular design, normalization made the instrument more portable and easier to use. This first pre-patched synthesizer, the Minimoog, became highly popular, the Minimoog also influenced the design of nearly all subsequent synthesizers, with integrated keyboard, pitch wheel and modulation wheel, and a VCO->VCF->VCA signal flow. In the 1970s, miniaturized solid-state components let manufacturers produce self-contained, portable instruments, Electronic synthesizers quickly become a standard part of the popular-music repertoire. The first movie to use music made with a synthesizer was the James Bond film On Her Majestys Secret Service in 1969, after the release of the film, composers produced a large number of movie soundtracks that featured synthesizers. Notable makers of analog synthesizers included Moog, ARP, Roland, Korg. Because of the complexity of generating even a single note using analog synthesis, polyphonic analog synthesizers featured limited polyphony, typically supporting four voices. Oberheim was a manufacturer of analog polyphonic synthesizers. The Polymoog was an attempt to create a polyphonic analog synthesizer

Analog synthesizer
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Trautonium, 1928
Analog synthesizer
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The Buchla Music Easel included a number of fader-style controls, switches, patch cord-connected modules, and a keyboard.
Analog synthesizer
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The ARP 2500.
Analog synthesizer
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The Minimoog was one of the most popular synthesizers ever built

9.
Audio filter
–
An audio filter is a frequency dependent amplifier circuit, working in the audio frequency range,0 Hz to beyond 20 kHz. Audio filters can amplify, pass or attenuate some frequency ranges, common types include low-pass filters, which pass through frequencies below their cutoff frequencies, and progressively attenuates frequencies above the cutoff frequency. Low-pass filters are used in audio crossovers to remove content from signals being sent to a low-frequency subwoofer system. A high-pass filter does the opposite, passing high frequencies above the cutoff frequency, a high-pass filter can be used in an audio crossover to remove low-frequency content from a signal being sent to a tweeter. A bandpass filter passes frequencies between its two frequencies, while attenuating those outside the range. A band-reject filter, attenuates frequencies between its two frequencies, while passing those outside the reject range. An all-pass filter passes all frequencies, but affects the phase of any given sinusoidal component, in more complex cases, an audio filter can provide a feedback loop, which introduces resonance alongside attenuation. Audio filters can also be designed to gain as well as attenuation. In other applications, such as with synthesizers or sound effects, audio filters can be implemented in analog circuitry as analog filters or in DSP code or computer software as digital filters. Generically, the term audio filter can be applied to anything which changes the timbre. Electrical resonance Electronic filter Equalization Feedback Linear filter Oscillation Self-resonant frequency

Audio filter
–
Digital domain parametric equalisation

10.
Keyboard expression
–
Acoustic pianos, such as upright and grand pianos, are velocity-sensitive—the faster the key strike, the harder the hammer hits the strings. Baroque-style clavichords and professional synthesizers are after-touch-sensitive—applied force on the key after the initial strike produces effects such as vibrato or swells in volume, tracker pipe organs and electronic organs are displacement-sensitive—partly depressing a key produces a quieter tone. The piano, being velocity-sensitive, responds to the speed of the key-press in how fast the hammers strike the strings, several piano predecessors, such as the harpsichord, were not velocity-sensitive like the piano. To avoid this confusion, pressure sensitivity is often, perhaps usually, the MIDI standard supports both velocity and aftertouch. In general, only electronic keyboards implement true pressure sensitivity. Some manufacturers advertising incorrectly uses the term touch-sensitive for velocity sensitivity, even on a touch-sensitive keyboard, not all digital instrument sounds may incorporate velocity sensitivity into the sounds envelope. For example, the pipe organ sound often has no velocity-sensitive effects. The manufacturers and distributors of some inferior keyboards incorrectly describe their purely velocity-sensitive instruments as pressure-sensitive, the clavichord and some electronic keyboards also respond to the amount of force applied after initial impact—they are pressure-sensitive. This can be used by a skilled player to slightly correct the intonation of the notes when playing on a clavichord. Unlike in an action, the tangent does not rebound from the string, rather, it stays in contact with the string as long as the key is held. The volume of the note can be changed by striking harder or softer, when the key is released, the tangent loses contact with the string and the vibration of the string is silenced by strips of damping cloth. By applying a pressure up and down the key with the finger. While the vibrato on fretless string instruments such as the violin typically oscillates in pitch both above and below the note, clavichord bebung only produce pitches above the note. Sheet music does not often explicitly indicate bebung, composers generally let players apply bebung at their discretion. When sheet music does indicate bebung, it appears as a series of dots above or below a note, on electronic keyboards and synthesizers, pressure sensitivity is usually called aftertouch. A minority of instruments have polyphonic aftertouch, in each individual note has its own sensor for pressure that enables differing usage of aftertouch for different notes. Aftertouch sensors detect whether the musician is continuing to exert pressure after the strike of the key. The aftertouch feature allows players to change the tone or sound of a note after it is struck

Keyboard expression
–
The Steinway brand of piano is a highly regarded instrument
Keyboard expression
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A modern reproduction of a Baroque-era clavichord
Keyboard expression
–
A 2000s-era digital keyboard
Keyboard expression
–
A tracker pipe organ uses a mechanical action; as such, when the keys are only partly depressed, the volume and tone are changed.

11.
Computer data storage
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Computer data storage, often called storage or memory, is a technology consisting of computer components and recording media used to retain digital data. It is a function and fundamental component of computers. The central processing unit of a computer is what manipulates data by performing computations, in practice, almost all computers use a storage hierarchy, which puts fast but expensive and small storage options close to the CPU and slower but larger and cheaper options farther away. In the Von Neumann architecture, the CPU consists of two parts, The control unit and the arithmetic logic unit. The former controls the flow of data between the CPU and memory, while the latter performs arithmetic and logical operations on data, without a significant amount of memory, a computer would merely be able to perform fixed operations and immediately output the result. It would have to be reconfigured to change its behavior and this is acceptable for devices such as desk calculators, digital signal processors, and other specialized devices. Von Neumann machines differ in having a memory in which they store their operating instructions, most modern computers are von Neumann machines. A modern digital computer represents data using the numeral system. Text, numbers, pictures, audio, and nearly any form of information can be converted into a string of bits, or binary digits. The most common unit of storage is the byte, equal to 8 bits, a piece of information can be handled by any computer or device whose storage space is large enough to accommodate the binary representation of the piece of information, or simply data. For example, the works of Shakespeare, about 1250 pages in print. Data is encoded by assigning a bit pattern to each character, digit, by adding bits to each encoded unit, redundancy allows the computer to both detect errors in coded data and correct them based on mathematical algorithms. A random bit flip is typically corrected upon detection, the cyclic redundancy check method is typically used in communications and storage for error detection. A detected error is then retried, data compression methods allow in many cases to represent a string of bits by a shorter bit string and reconstruct the original string when needed. This utilizes substantially less storage for many types of data at the cost of more computation, analysis of trade-off between storage cost saving and costs of related computations and possible delays in data availability is done before deciding whether to keep certain data compressed or not. For security reasons certain types of data may be encrypted in storage to prevent the possibility of unauthorized information reconstruction from chunks of storage snapshots. Generally, the lower a storage is in the hierarchy, the lesser its bandwidth and this traditional division of storage to primary, secondary, tertiary and off-line storage is also guided by cost per bit. In contemporary usage, memory is usually semiconductor storage read-write random-access memory, typically DRAM or other forms of fast but temporary storage

12.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones

Sound effect
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Various acoustic devices in a Greek radio studio
Sound effect
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A live rooster in the Yle recording studio in 1930s Finland
Sound effect
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A man recording the sound of a saw in the 1930s

13.
Musical keyboard
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A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Depressing a key on the causes the instrument to produce sounds, either by mechanically striking a string or tine, plucking a string, causing air to flow through a pipe. On electric and electronic keyboards, depressing a key connects a circuit, since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard. The twelve notes of the Western musical scale are laid out with the lowest note on the left, because these keys were traditionally covered in ivory they are often called the white notes or white keys. The keys for the remaining five notes—which are not part of the C major scale— are raised, because these keys receive less wear, they are often made of black colored wood and called the black notes or black keys. The pattern repeats at the interval of an octave, the arrangement of longer keys for C major with intervening, shorter keys for the intermediate semitones dates to the 15th century. The break was between middle C and C-sharp, or outside of Iberia between B and C, broken keyboards reappeared in 1842 with the harmonium, the split occurring at E4/F4. The reverse-colored keys on Hammond organs such as the B3, C3, the chromatic compass of keyboard instruments has tended to increase. Harpsichords often extended over five octaves in the 18th century, while most pianos manufactured since about 1870 have 88 keys, some modern pianos have even more notes. While modern synthesizer keyboards commonly have either 61,76 or 88 keys, organs normally have 61 keys per manual, though some spinet models have 44 or 49. An organ pedalboard is a keyboard with long pedals that are played by the organists feet, pedalboards vary in size from 12 to 32 notes. In a typical layout, black note keys have uniform width. In the larger gaps between the keys, the width of the natural notes C, D and E differ slightly from the width of keys F, G, A and B. This allows close to uniform spacing of 12 keys per octave while maintaining uniformity of seven natural keys per octave, over the last three hundred years, the octave span distance found on historical keyboard instruments has ranged from as little as 125 mm to as much as 170 mm. Several reduced-size standards have been proposed and marketed, a 15/16 size and the 7/8 DS Standard keyboard developed by Christopher Donison in the 1970s and developed and marketed by Steinbuhler & Company. There have been variations in the design of the keyboard to address technical and musical issues, thus, an octave would have eight white keys and only four black keys. During the sixteenth century, when instruments were tuned in meantone temperament, some harpsichords were constructed with the G♯. The broken octave, a variation of the short octave

14.
Bass synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers

15.
Music sequencer
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This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and these new sequencers could also be used to control external synthesizers, especially rackmounted sound modules, and it was no longer necessary for each synthesizer to have its own devoted keyboard. As the technology matured, sequencers gained more features, such as the ability to record multitrack audio, Sequencers used for audio recording are called digital audio workstations. Many modern sequencers can be used to control virtual instruments implemented as software plug-ins and this allows musicians to replace expensive and cumbersome standalone synthesizers with their software equivalents. Today the term sequencer is used to describe software. Workstation keyboards have their own proprietary built-in MIDI sequencers, drum machines and some older synthesizers have their own step sequencer built in. There are still also standalone hardware MIDI sequencers, although the demand for those has diminished greatly due to the greater feature set of their software counterparts. Music sequencers are often categorized by handling data types, as following, or, the phrase samplers including Groove machines, etc. Also, music sequencer can be categorized by its construction and supporting modes, realtime sequencers record the musical notes in real-time as on audio recorders, and play back musical notes with designated tempo, quantizations, and pitch. For editing, usually punch in/punch out feature originated in the recording is provided. For detailed editing, possibly another visual editing modes under graphical user interface may be more suitable, anyway, this mode provides usability similar to the audio recorder already familiarized by musicians, and it is widely supported on software sequencer, DAW, and built-in hardware sequencers. Analog sequencers are typically implemented with analog electronics, and play the musical notes designated by a series of knobs or sliders corresponding to each musical note and it is designed for both composition and live performance, users can change the musical notes at any time without regarding recording mode. And also possibly, the time-interval between each note can be independently adjustable. Typically, analog sequencer is used to generate the repeated minimalistic phrases which is reminiscent of Tangerine Dream, on the bass machines, select a step note from a chromatic keypads, then select a step duration from a group of length-buttons, sequentially. In general, step mode, along with roughly quantized semi-realtime mode, is supported on the analog drum machines, bass machines. Software sequencer is a class of application software providing a functionality of music sequencer, the features provided as sequencers vary widely depending on the software, even an analog sequencer can be simulated. The user may control the software sequencer either by using the user interfaces or a specialized input devices. The early music sequencers were sound producing devices such as musical instruments, music boxes, mechanical organs, player pianos

16.
Monophony
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In music, monophony is the simplest of musical textures, consisting of a melody, typically sung by a single singer or played by a single instrument player without accompanying harmony or chords. Many folk songs and traditional songs are monophonic, a melody is also considered to be monophonic if a group of singers sings the same melody together at the unison or with the same melody notes duplicated at the octave. If an entire melody is played by two or more instruments or sung by a choir with an interval, such as a perfect fifth. The Musical texture of a song or musical piece is determined by assessing whether varying components are used, in the Early Middle Ages, the earliest Christian songs, called plainchant, were monophonic. Monophony may not have underlying rhythmic textures, and must consist of only a single melodic line, according to Ardis Butterfield, monophony is the dominant mode of the European vernacular genres as well as of Latin song. In polyphonic works, it remains a central compositional principle, the earliest recorded Christian monophony was plainchant or plainsong a single unaccompanied vocal melody sung by monks. Sung by multiple voices in unison, this music is still considered monophonic, plainsong was the first and foremost musical style of Italy, Ireland, Spain, and France. In the early 9th century, the tradition developed by adding voices in parallel to plainchant melodies. Mozarabic chant, Byzantine Chant, Armenian chant, Beneventan chant, Ambrosian chant, Gregorian chant, many of these monophonic chants were written down, and contain the earliest music notation to develop after the loss of the ancient Greek system. For example, Dodecachordon was published by the Swiss Renaissance composer Heinrich Glarean and included plainsong or Gregorian chant, troubadour songs were written from 1100-1350 and they were usually poems about chivalry or courtly love with the words set to a melody. Aristocratic troubadours and trouvères typically played in performances for kings, queens. Poets and composers in the 14th century produced many songs which can be seen as extensions of the Provençal Troubador tradition, such as secular monophonic lais and virelais. Jehan de Lescurel, a poet and composer from northern French from the Trouvère style also wrote songs in the style of virelais, ballades, rondeaux. Minnesänger were similar to the French style but in Middle High German, a tradition of Lauda, or sacred songs in the style of Troubador songs, was popularized in the 13th and 14th centuries by Geisslerlieder, or Flagellant songs. These monophonic Laude spirituale songs were used in the 13th and 17th century by flagellants, Monophony was the first type of texture in the Lutheran Church. A well-known example is Martin Luthers hymn A Mighty Fortress Is Our God, many of Luthers hymns were later harmonized for multiple voices by other composers, and were also used in other polyphonic music such as the cantatas of Johann Sebastian Bach. Indian classical music is an ancient musical tradition where monophonic melodies called ragas are played over drones, sometimes accompanied by percussion, hindustani music from the North of India Carnatic music from the South of India, encompassing compositions in Kannada, Telugu, Tamil, Sanskrit, and Malayalam. For more information see also Music history of India, drone Duophonic Polyphony Voicing #Doubling Copland, Aaron

17.
DJ
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A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments

DJ
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A DJ performing at an event
DJ
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Technics 1200 MK2, Technics 1210 MK2, and Pioneer DJM-500 shown in a common DJ configuration
DJ
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A DJ at Sundance Film Festival 2003
DJ
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A young woman plays a gramophone in an air raid shelter in north London (1940).

18.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu

19.
Bassline
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It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are simple, appealing musical motifs or phrases that are repeated, with variation. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Bassline riffs usually emphasize the chord tones of each chord, which helps to define a songs key, at the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music, in swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, in bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord. In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role, however, most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used, from the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the bass in most types of popular music, such as rock and roll, blues. By the 1970s and 1980s, the bass was used in most rock bands. The double bass was used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz, traditional 1950s blues, jump blues, country. In some popular bands, keyboard instruments are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the pedal keyboard. In some types of music, such as hip-hop or house music. Basslines are especially important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog, chinese orchestras use the zhōng ruǎn and dà ruǎn for creating basslines

Bassline
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Victor Wooten performing on the electric bass.
Bassline
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A German double bass section in 1952. The player to the left is using a German bow.
Bassline
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TB-303 front panel

20.
Electronic dance music
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Electronic dance music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix, EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. In the United Kingdom and in continental Europe, EDM is more commonly called dance music or simply dance. In the late 1980s and early 1990s, following the emergence of raving, pirate radio, at this time a perceived association between EDM and drug culture led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. By the early 2010s the term dance music and the initialism EDM was being pushed by the US music industry. Early examples of dance music include the disco music of Giorgio Moroder. During the early 1980s, the popularity of disco music declined in the United States, abandoned by major US record labels. European disco continued evolving within the mainstream pop music scene. European acts Silver Convention, Love and Kisses, Munich Machine, and American acts Donna Summer, in 1977, Giorgio Moroder and Pete Bellotte produced I Feel Love for Donna Summer. It became the first well-known disco hit to have a completely synthesised backing track, other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music to provide alternatives to the four on the floor style that dominated. The sound that originated from P-Funk the electronic side of disco, dub music. Much of the music produced during this time was, like disco, at this time creative control started shifting to independent record companies, less established producers, and club DJs. Other dance styles that began to become popular during the era include dance-pop, boogie, electro, Italo disco, house. In the early 1980s, electro emerged as a fusion of funk, also called electro-boogie, but later shortened to electro, cited pioneers include Zapp, D. Train, Sinnamon. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, as the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980-1981, the 1982 track Planet Rock by Afrikaa Bambaataa, and the 1982 song Sexual Healing by Marvin Gaye. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal Planet Rock which was influenced by the Yellow Magic Orchestra using Kraftwerk samples, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak

Electronic dance music
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Roland TB-303: The bass line synthesizer that was used prominently in acid house.
Electronic dance music
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Typical tools for EDM production: computer, MIDI keyboard and mixer/sound recorder.
Electronic dance music
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An EDM festival in 2013 with over 100,000 attendees, exhibiting the large crowds and dramatic lighting common at such events since the early 2000s.

21.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial

22.
Chicago house
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Chicago house refers to house music produced during the mid to late 1980s within Chicago. The term is used to refer to the first ever house music productions. Following Chicagos Disco Demolition Night in mid-1979, disco musics mainstream popularity fell into decline, in the early 1980s, fewer and fewer disco records were being released, but the genre remained popular in some Chicago nightclubs and on at least one radio station, WBMX-FM. Some of these DJs also made and played their own edits of their songs on reel-to-reel tape. Some even mixed in effects, drum machines, and other rhythmic electronic instrumentation in an effort to give songs more appeal and these edits and remixes were rarely released to the public, and even then were available only on privately pressed vinyl records or on mixtapes. One DJ, Jesse Saunders, ran a vanity record label through which he released original dance music productions which emulated various popular styles of the day, in 1984, the label released, on 12-inch single, a song called On and On. Saunders composed the track with Vince Lawrence in order to replace a record which had stolen from Saunders collection. Saunders success with the relatively unpolished On & On inspired other Chicago DJs to try their hand at producing and releasing songs in a similar style. These producers were aided in their efforts by the availability of affordable, mass-produced electronic music instruments, including synthesizers, compact sequencers, drum machines, although there are conflicting accounts of the terms etymology, by 1985, house music was synonymous with these homegrown dance music productions. Mainstream record stores often did not carry it, as the records were not available through the record distributors. In Chicago, only record stores such as Importes Etc, state Street Records, JR’s Music shop and Gramaphone Records were the primary suppliers of this music. The Hot Mix 5 shows started with the launch in 1981. Trends in house music soon became subgenres, such as the lush, slower-tempo deep house, deep houses origins can be traced to Chicago producer Mr Fingerss relatively jazzy, soulful recordings Mystery of Love and Can You Feel It. Which, according to author Richie Unterberger, moved house music away from its posthuman tendencies back towards the lush sound of early disco music. Acid house arose from Chicago artists experiments with the squelchy Roland TB-303 bass synthesizer, and the styles earliest release on vinyl is generally cited as Phutures Acid Tracks. Phuture, a group founded by Nathan DJ Pierre Jones, Earl Spanky Smith Jr. the groups 12-minute Acid Tracks was recorded to tape and was played by DJ Ron Hardy at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably, the track also utilized a Roland TR-707 drum machine. Several house tracks became #1 hits on the UK Singles Chart, at least three styles of dancing are associated with house music, Footwork, Jacking, and Lofting

23.
Acid house
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, Acid house brought house music to a worldwide audience. The influence of house can be heard on later styles of dance music including trance, breakbeat hardcore, jungle, big beat, techno. Other elements, such as strings and stabs, were usually minimal. Some acid house fans used a smiley face with a streak on it. The origin of this usage was the bloodied smiley from Watchmen on the label of Beat Dis by Bomb the Bass, there are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phutures Acid Tracks, before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were reportedly used. The clubs patrons called the song Ron Hardys Acid Track, the song was released with the title Acid Trax on Larry Shermans label Trax Records in 1987. Regardless, after the release of Phutures song, the acid house came into common parlance. Some accounts say the reference to acid may be a reference to psychedelic drugs in general, such as LSD. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardys The Music Box, that afforded it its initial meaning. In her view acid connotes the fragmentation of experience and dislocation of meaning due to the effects on thought patterns which the psycho-active drug LSD or Acid can bring about. In the context of the creation of Acid Tracks it indicated a concept rather than the use of drugs in itself. One theory, holding that acid was a reference towards the use of samples in acid house music, was repeated in the press. In this theory, the term came from the slang term acid burning. In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In. ”By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, and mistook it for a reference to LSD

Acid house
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The Roland TB-303 bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.
Acid house
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Beat Dis by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.

24.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp

25.
Transistor
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A transistor is a semiconductor device used to amplify or switch electronic signals and electrical power. It is composed of semiconductor material usually with at least three terminals for connection to an external circuit, a voltage or current applied to one pair of the transistors terminals controls the current through another pair of terminals. Because the controlled power can be higher than the controlling power, today, some transistors are packaged individually, but many more are found embedded in integrated circuits. The transistor is the building block of modern electronic devices. Julius Edgar Lilienfeld patented a field-effect transistor in 1926 but it was not possible to construct a working device at that time. The first practically implemented device was a point-contact transistor invented in 1947 by American physicists John Bardeen, Walter Brattain, the transistor revolutionized the field of electronics, and paved the way for smaller and cheaper radios, calculators, and computers, among other things. The transistor is on the list of IEEE milestones in electronics, and Bardeen, Brattain, the thermionic triode, a vacuum tube invented in 1907, enabled amplified radio technology and long-distance telephony. The triode, however, was a device that consumed a substantial amount of power. Physicist Julius Edgar Lilienfeld filed a patent for a transistor in Canada in 1925. Lilienfeld also filed patents in the United States in 1926 and 1928. However, Lilienfeld did not publish any research articles about his devices nor did his patents cite any examples of a working prototype. In 1934, German inventor Oskar Heil patented a device in Europe. Solid State Physics Group leader William Shockley saw the potential in this, the term transistor was coined by John R. Pierce as a contraction of the term transresistance. Instead, what Bardeen, Brattain, and Shockley invented in 1947 was the first point-contact transistor, Mataré had previous experience in developing crystal rectifiers from silicon and germanium in the German radar effort during World War II. Using this knowledge, he began researching the phenomenon of interference in 1947, realizing that Bell Labs scientists had already invented the transistor before them, the company rushed to get its transistron into production for amplified use in Frances telephone network. The first bipolar junction transistors were invented by Bell labs William Shockley, on April 12,1950, Bell Labs chemists Gordon Teal and Morgan Sparks had successfully produced a working bipolar NPN junction amplifying germanium transistor. Bell Labs had made this new sandwich transistor discovery announcement, in a release on July 4,1951. The first high-frequency transistor was the surface-barrier germanium transistor developed by Philco in 1953 and these were made by etching depressions into an N-type germanium base from both sides with jets of Indium sulfate until it was a few ten-thousandths of an inch thick

26.
Bass (sound)
–
Bass describes tones of low frequency, pitch and range from 16-256 Hz. In musical compositions, such as songs and pieces, these are the lowest parts of the harmony, in choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the lines are played by the double bass and cellos, bassoon or contrabassoon, low brass such as the tuba and bass trombone. In many styles of music such as Bluegrass, folk, and in styles such as Rockabilly and Big Band and Bebop jazz. In most rock and pop bands and in jazz fusion groups, in some 20th and 21st century pop genres, such as 1980s pop, hip hop music and Electronic Dance Music, the bass role may be filled with a bass synthesizer. In popular music, the part, which is called the bassline. The bass player is a member of the section in a band, along with the drummer, rhythm guitarist, and, in some cases. The bass player plays the root or fifth of the chord. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Basso continuo was an approach to writing music during the Baroque music era, keyboard bass Bass drum Double bass Bass guitar Washtub bass Bassoon Bass clarinet Bass saxophone Tuba Bass trombone Euphonium Sub bass Treble Bass clef Figured bass

27.
Accompaniment
–
Accompaniment is the musical parts which provide the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music, in homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the beat for the music, the accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. A solo singer can accompany herself by playing guitar or piano while she sings, and in rare cases. With choral music, the accompaniment to a vocal solo can be provided by other singers in the choir, accompaniment parts range from so simple that a beginner can play them to so complex that only an advanced player or singer can perform them. An accompanist is a musician who plays an accompaniment part, accompanists often play keyboard instruments (e. g. piano, pipe organ, synthesizer or, in folk music and traditional styles, a guitar. A number of classical pianists have found success as accompanists rather than soloists, arguably the best known example is Gerald Moore, the accompaniment instrumentalists and/or singers can be provided with a fully notated accompaniment part written or printed on sheet music. This is the norm in Classical music and in most large ensemble writing, chord-playing musicians can improvise chords, fill-in melodic lines and solos from the chord chart. It is rare for chords to be written out in music notation in pop. Some guitarists, bassists and other stringed instrumentalists read accompaniment parts using tabulature, drummers can play accompaniment by following the lead sheet, a sheet music part in music notation, or by playing by ear. In some cases, an arranger or composer may give a bassist a bass part that is written out in music notation. Comping Counter-melody Figure Figured bass Guitar picking Hauptstimme Strum The dictionary definition of accompaniment at Wiktionary

28.
Chord progression
–
A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note of a musical scale, therefore a seven-note scale allows seven basic chords, each degree of the scale becoming the root of its own chord. A chord built upon the note A is an A chord of some type The harmonic function of any particular chord depends on the context of the chord progression in which it is found. The diatonic harmonization of any major results in three major triads. They are based on the first, fourth, and fifth scale degrees and these three triads include, and therefore can harmonize, every note of that scale. The same scale also provides three relative minor chords, one related to each of the three major chords, separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. In addition, extra notes may be added to any chord, if these notes are also selected from the original scale the harmony remains diatonic. If new chromatic intervals are introduced then a change of scale or modulation occurs and this in turn may lead to a resolution back to the original key, so that the entire sequence of chords helps create an extended musical form. In western classical notation, chords built on the scale are numbered with Roman numerals, other forms of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require an amount of improvisation. Diatonic scales such as the major and minor scales lend themselves well to the construction of common chords because they contain a large number of perfect fifths. Such scales predominate in those regions where harmony is an part of music, as, for example. Alternation between two chords may be thought of as the most basic chord progression, many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale. The Isley Brothers Shout uses I - vi throughout, three-chord tunes, though, are more common, since a melody may then dwell on any note of the scale. They are often presented as successions of four chords, in order to produce a binary harmonic rhythm, often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. (Common in Elizabethan music, this also underpins the American college song Goodnight Ladies, is the exclusive progression used in Kwela, similar progressions abound in African popular music. They may be varied by the addition of sevenths to any chord or by substitution of the minor of the IV chord to give, for example

Chord progression
–
Beethoven imagined in the process of composing his Pastoral Symphony
Chord progression
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IV-V-I progression in C Play (help · info)
Chord progression
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Blues progressions influenced a great deal of 20th century American popular music
Chord progression
–
The Mills Brothers ' recording of " Till Then " looked forward both to the end of World War II and to the popular music of the 1950s. (Courtesy of the Fraser MacPherson estate c/o Guy MacPherson)

29.
Oscillator
–
Oscillation is the repetitive variation, typically in time, of some measure about a central value or between two or more different states. The term vibration is used to describe mechanical oscillation. Familiar examples of oscillation include a swinging pendulum and alternating current power, the simplest mechanical oscillating system is a weight attached to a linear spring subject to only weight and tension. Such a system may be approximated on an air table or ice surface, the system is in an equilibrium state when the spring is static. If the system is displaced from the equilibrium, there is a net restoring force on the mass, tending to bring it back to equilibrium. However, in moving the back to the equilibrium position, it has acquired momentum which keeps it moving beyond that position. If a constant force such as gravity is added to the system, the time taken for an oscillation to occur is often referred to as the oscillatory period. All real-world oscillator systems are thermodynamically irreversible and this means there are dissipative processes such as friction or electrical resistance which continually convert some of the energy stored in the oscillator into heat in the environment. Thus, oscillations tend to decay with time there is some net source of energy into the system. The simplest description of this process can be illustrated by oscillation decay of the harmonic oscillator. In addition, a system may be subject to some external force. In this case the oscillation is said to be driven, some systems can be excited by energy transfer from the environment. This transfer typically occurs where systems are embedded in some fluid flow, at sufficiently large displacements, the stiffness of the wing dominates to provide the restoring force that enables an oscillation. The harmonic oscillator and the systems it models have a degree of freedom. More complicated systems have more degrees of freedom, for two masses and three springs. In such cases, the behavior of each variable influences that of the others and this leads to a coupling of the oscillations of the individual degrees of freedom. For example, two pendulum clocks mounted on a wall will tend to synchronise. This phenomenon was first observed by Christiaan Huygens in 1665, more special cases are the coupled oscillators where energy alternates between two forms of oscillation

Oscillator
–
Experimental Setup of Huygens synchronization of two clocks
Oscillator
–
Two pendulums with the same period fixed on a string act as pair of coupled oscillators. The oscillation alternates between the two.

30.
Sawtooth wave
–
The sawtooth wave is a kind of non-sinusoidal waveform. It is so named based on its resemblance to the teeth of a saw with a zero rake angle. The convention is that a sawtooth wave ramps upward and then sharply drops, however, in a reverse sawtooth wave, the wave ramps downward and then sharply rises. It can also be considered the case of an asymmetric triangle wave. The piecewise linear function x = t − ⌊ t ⌋ = t − floor ⁡ or x = t based on the function of time t is an example of a sawtooth wave with period 1. A more general form, in the range −1 to 1, a sawtooth can be constructed using additive synthesis. The infinite Fourier series x r e v e r s e s a w t o o t h =2 A π ∑ k =1 ∞ k sin ⁡ k converges to a sawtooth wave. A conventional sawtooth can be constructed using x s a w t o o t h = A2 − A π ∑ k =1 ∞ k sin ⁡ k where A is amplitude. Note, cot y = -tan x In digital synthesis, these series are only summed over k such that the highest harmonic and this summation can generally be more efficiently calculated with a fast Fourier transform. An audio demonstration of a sawtooth played at 440 Hz and 880 Hz and 1760 Hz is available below, both bandlimited and aliased tones are presented. Sawtooth waves are known for their use in music, the sawtooth and square waves are among the most common waveforms used to create sounds with subtractive analog and virtual analog music synthesizers. The sawtooth wave is the form of the vertical and horizontal deflection signals used to generate a raster on CRT-based television or monitor screens, oscilloscopes also use a sawtooth wave for their horizontal deflection, though they typically use electrostatic deflection. On the waves ramp, the field produced by the deflection yoke drags the electron beam across the face of the CRT. On the waves cliff, the magnetic field collapses, causing the electron beam to return to its resting position as quickly as possible. Frequency is 15.734 kHz on NTSC,15.625 kHz for PAL, the vertical deflection system operates the same way as the horizontal, though at a much lower frequency. The ramp portion of the wave must appear as a straight line, if otherwise, it indicates that the voltage isnt increasing linearly, and therefore that the magnetic field produced by the deflection yoke is not linear. As a result, the beam will accelerate during the non-linear portions. This would result in a television image squished in the direction of the non-linearity, extreme cases will show marked brightness increases, since the electron beam spends more time on that side of the picture

Sawtooth wave
–
A bandlimited sawtooth wave pictured in the time domain (top) and frequency domain (bottom). The fundamental is at 220 Hz (A3).

31.
Square wave
–
A square wave is a non-sinusoidal periodic waveform, in which the amplitude alternates at a steady frequency between fixed minimum and maximum values, with the same duration at minimum and maximum. The transition between minimum to maximum is instantaneous for a square wave, this is not realizable in physical systems. Square waves are encountered in electronics and signal processing. Its stochastic counterpart is a two-state trajectory, a similar but not necessarily symmetric wave, with arbitrary durations at minimum and maximum, is called a pulse wave. The ratio of the period to the total period of any rectangular wave is called the duty cycle. A true square wave has a 50% duty cycle and this is the basis of pulse width modulation. Square waves are encountered in digital switching circuits and are naturally generated by binary logic devices. They are used as timing references or clock signals, because their fast transitions are suitable for triggering synchronous logic circuits at precisely determined intervals, to avoid this problem in very sensitive circuits such as precision analog-to-digital converters, sine waves are used instead of square waves as timing references. In musical terms, they are described as sounding hollow. Additionally, the effect used on electric guitars clips the outermost regions of the waveform. Simple two-level Rademacher functions are square waves, any periodic function can substitute the sinusoid in this definition. Note, y = atan sin x + acot sin x A square wave can be expressed as the case of an infinite series of sinusoidal waves. The ideal square wave contains only components of odd-integer harmonic frequencies, Sawtooth waves and real-world signals contain all integer harmonics. A curiosity of the convergence of the Fourier series representation of the wave is the Gibbs phenomenon. Ringing artifacts in non-ideal square waves can be shown to be related to this phenomenon, the Gibbs phenomenon can be prevented by the use of σ-approximation, which uses the Lanczos sigma factors to help the sequence converge more smoothly. An ideal mathematical square wave changes between the high and the low state instantaneously, and without under- or over-shooting and this is impossible to achieve in physical systems, as it would require infinite bandwidth. Square waves in physical systems have only finite bandwidth and often exhibit ringing effects similar to those of the Gibbs phenomenon or ripple effects similar to those of the σ-approximation. For a reasonable approximation to the shape, at least the fundamental and third harmonic need to be present

32.
Envelope generator
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers

33.
ADSR envelope
–
A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers

34.
Lowpass filter
–
A low-pass filter is a filter that passes signals with a frequency lower than a certain cutoff frequency and attenuates signals with frequencies higher than the cutoff frequency. The exact frequency response of the filter depends on the filter design, the filter is sometimes called a high-cut filter, or treble cut filter in audio applications. A low-pass filter is the complement of a high-pass filter, Low-pass filters provide a smoother form of a signal, removing the short-term fluctuations, and leaving the longer-term trend. Filter designers will often use the form as a prototype filter. That is, a filter with unity bandwidth and impedance, the desired filter is obtained from the prototype by scaling for the desired bandwidth and impedance and transforming into the desired bandform. Examples of low-pass filters occur in acoustics, optics and electronics, a stiff physical barrier tends to reflect higher sound frequencies, and so acts as a low-pass filter for transmitting sound. When music is playing in another room, the low notes are easily heard, an optical filter with the same function can correctly be called a low-pass filter, but conventionally is called a longpass filter, to avoid confusion. For current signals, a circuit, using a resistor and capacitor in parallel. Electronic low-pass filters are used on inputs to subwoofers and other types of loudspeakers, radio transmitters use low-pass filters to block harmonic emissions that might interfere with other communications. The tone knob on many electric guitars is a filter used to reduce the amount of treble in the sound. An integrator is another time constant low-pass filter, telephone lines fitted with DSL splitters use low-pass and high-pass filters to separate DSL and POTS signals sharing the same pair of wires. Low-pass filters also play a significant role in the sculpting of sound created by analogue, the transition region present in practical filters does not exist in an ideal filter. The filter would therefore need to have infinite delay, or knowledge of the future and past. It is effectively realizable for pre-recorded digital signals by assuming extensions of zero into the past and future, or more typically by making the signal repetitive and this delay is manifested as phase shift. Greater accuracy in approximation requires a longer delay, an ideal low-pass filter results in ringing artifacts via the Gibbs phenomenon. These can be reduced or worsened by choice of windowing function, for example, simple truncation causes severe ringing artifacts, in signal reconstruction, and to reduce these artifacts one uses window functions which drop off more smoothly at the edges. The Whittaker–Shannon interpolation formula describes how to use a perfect low-pass filter to reconstruct a signal from a sampled digital signal. Real digital-to-analog converters use real filter approximations, there are many different types of filter circuits, with different responses to changing frequency

35.
Decibel
–
The decibel is a logarithmic unit used to express the ratio of two values of a physical quantity. One of these values is often a reference value, in which case the decibel is used to express the level of the other value relative to this reference. When used in way, the decibel symbol is often qualified with a suffix that indicates the reference quantity that has been used or some other property of the quantity being measured. For example, dBm indicates a power of one milliwatt. There are two different scales used when expressing a ratio in decibels depending on the nature of the quantities, when expressing power quantities, the number of decibels is ten times the logarithm to base 10 of the ratio of two power quantities. That is, a change in power by a factor of 10 corresponds to a 10 dB change in level, when expressing field quantities, a change in amplitude by a factor of 10 corresponds to a 20 dB change in level. The difference in scales relates to the square law of fields in three-dimensional linear space. The decibel scales differ so that comparisons can be made between related power and field quantities when they are expressed in decibels. The definition of the decibel is based on the measurement of power in telephony of the early 20th century in the Bell System in the United States. One decibel is one tenth of one bel, named in honor of Alexander Graham Bell, however, today, the decibel is used for a wide variety of measurements in science and engineering, most prominently in acoustics, electronics, and control theory. In electronics, the gains of amplifiers, attenuation of signals, the decibel originates from methods used to quantify signal loss in telegraph and telephone circuits. The unit for loss was originally Miles of Standard Cable, the standard telephone cable implied was a cable having uniformly distributed resistance of 88 ohms per loop mile and uniformly distributed shunt capacitance of 0.054 microfarad per mile. 1 TU was defined such that the number of TUs was ten times the logarithm of the ratio of measured power to a reference power level. The definition was conveniently chosen such that 1 TU approximated 1 MSC, in 1928, the Bell system renamed the TU into the decibel, being one tenth of a newly defined unit for the base-10 logarithm of the power ratio. It was named the bel, in honor of the telecommunications pioneer Alexander Graham Bell, the bel is seldom used, as the decibel was the proposed working unit. However, the decibel is recognized by international bodies such as the International Electrotechnical Commission. The term field quantity is deprecated by ISO 80000-1, which favors root-power, in spite of their widespread use, suffixes are not recognized by the IEC or ISO. The ISO Standard 80000-3,2006 defines the following quantities, the decibel is one-tenth of a bel,1 dB =0.1 B

36.
Octave
–
In music, an octave or perfect octave is the interval between one musical pitch and another with half or double its frequency. It is defined by ANSI as the unit of level when the base of the logarithm is two. The octave relationship is a phenomenon that has been referred to as the basic miracle of music. The most important musical scales are written using eight notes. For example, the C major scale is typically written C D E F G A B C, two notes separated by an octave have the same letter name and are of the same pitch class. Three commonly cited examples of melodies featuring the perfect octave as their opening interval are Singin in the Rain, Somewhere Over the Rainbow, the interval between the first and second harmonics of the harmonic series is an octave. The octave has occasionally referred to as a diapason. To emphasize that it is one of the intervals, the octave is designated P8. The octave above or below a note is sometimes abbreviated 8a or 8va, 8va bassa. For example, if one note has a frequency of 440 Hz, the note one octave above is at 880 Hz, the ratio of frequencies of two notes an octave apart is therefore 2,1. Further octaves of a note occur at 2n times the frequency of that note, such as 2,4,8,16, etc. and the reciprocal of that series. For example,55 Hz and 440 Hz are one and two away from 110 Hz because they are 1⁄2 and 4 times the frequency, respectively. After the unison, the octave is the simplest interval in music, the human ear tends to hear both notes as being essentially the same, due to closely related harmonics. Notes separated by a ring together, adding a pleasing sound to music. For this reason, notes an octave apart are given the note name in the Western system of music notation—the name of a note an octave above A is also A. The conceptualization of pitch as having two dimensions, pitch height and pitch class, inherently include octave circularity, thus all C♯s, or all 1s, in any octave are part of the same pitch class. Octave equivalency is a part of most advanced cultures, but is far from universal in primitive. The languages in which the oldest extant written documents on tuning are written, leon Crickmore recently proposed that The octave may not have been thought of as a unit in its own right, but rather by analogy like the first day of a new seven-day week

Octave

37.
Portamento
–
In music, portamento is a pitch sliding from one note to another. It is also applied to one type of glissando as well as to the function of synthesizers. In the first example, Rodolfos first aria in La Sonnambula, the second example, Judits first line in Duke Bluebeards Castle, employs an inclining, wavy line between the fourth and fifth notes to indicate a steady rise in pitch. Portamento may, of course, also be used for descending intervals, in the performance of Italian bel canto music, the concept of the musical slur and that of the true portamento have not always been held to mean the same thing. This is explained simply by Nicola Vaccai in his Practical Method of Italian Singing, originally published 1832, whose opinion in the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but an ornamental accentuation of the legato linking two distinct notes, without any slide or glide through the intervening notes. He adds, In phrases requiring much grace and expression, it produces a good effect. However Manuel García, a pedagogue of immense renown, in his New Compendious Treatise of the Art of Singing, Part 1, Chapter VII, On Vocalization or Agility. Writing of the means by which the voice is conducted from one note to another, to slur is to conduct the voice from one note to another through all the intermediate sounds. This dragging of the notes will assist in equalizing the registers, timbres and he warned that learners should not acquire the bad habit of attacking a note with a slur, a prevailing fault in bad singers. As with the sounds, the air must be subjected to a regular and continuous pressure. It reflected not merely a distinction of terminology but divergent understandings of an aspect of singing technique. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate, however, when there is no such specification, the singer is expected to be able to move crisply from note to note without any slurring or scooping. Glissando List of ornaments Nonchord tone#Portamento Pitch wheel Portato, also rarely called portamento, the Craft of Modal Counterpoint, A Practical Approach, second edition. Ecole de García, Traité Complet de lArt du Chant par Manuel García fils, mainz and Paris, Schott 1840,1847. Garcías New Treatise on the Art of Singing, a Compendious Method of Instruction, with Examples and Exercises for the Cultivation of the Voice, OCLC224044902 Read at Archive. org Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, englewood Cliffs, New Jersey, Prentice Hall. OCLC59143146 Harris, Ellen T. Portamento, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell

Portamento
–
This article is about the musical term. For the album, see Portamento (album).

38.
Roland TR-808
–
The Roland TR-808 Rhythm Composer, often referred to simply as the 808, is a drum machine introduced by the Roland Corporation in 1980 and discontinued in 1983. It was one of the earliest programmable drum machines, with which users could create their own rather than having to use presets. Unlike its nearest competitor, the expensive and sample-based Linn LM-1 Drum Computer. Launched at a time when music had yet to become mainstream. It was succeeded in 1984 by the TR-909, over the course of the decade, the 808 attracted a cult following among underground musicians for its affordability, ease of use, and idiosyncratic sounds, particularly its deep, booming bass drum. It became a cornerstone of the electronic, dance, and hip hop genres, popularized by early hits such as Marvin Gayes Sexual Healing and Afrika Bambaataa. At the time, drum machines were most often used to accompany home organs, Lewis was known for performances using electronic instruments he had modified himself, decades before the popularization of instrument hacking via circuit bending. He made extensive modifications to the Ace Tone drum machine, creating his own rhythms and wiring the device through his organs expression pedal to accent the percussion, unique at the time. Lewis was approached by Ace Tone president and founder Ikutaro Kakehashi, in 1972, Kakehashi formed the Roland Corporation and hired Lewis to help design drum machines. By the late 1970s, microprocessors were appearing in such as the Sequential Circuits Prophet-5 synthesizer. In 1978, Roland released the CompuRhythm CR-78, the first drum machine with which users could write, save, with its next machine, the TR-808, Roland aimed to develop a drum machine for the professional market, expecting that it would mainly be used to create demos. Though the engineers aimed to emulate real percussion, the prohibitive cost of memory drove them to design sound-generating hardware instead of using samples, Kakehashi deliberately purchased faulty transistors to create the machines distinctive sizzling sound. Roland engineer Makoto Muri credited the design of the voice circuits to Mr. Nakamura. The 808 generates 16 different sounds in imitation of acoustic percussion, bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal, and hi-hat. It is completely analog, meaning its sounds are generated via hardware rather than sampled, users can program up to 32 patterns using the step sequencer, each with a maximum of 768 measures, and place accents on individual beats, a feature introduced with the CR-78. Users can also set the tempo and time signature, including unusual signatures such as 5/4, the machine has multiple audio outputs and a DIN sync port to synchronize with other devices, considered groundbreaking at the time. The 808s sounds do not resemble real percussion, and have described as clicky and hypnotic, robotic, toy-like, spacey. Fact described them as a combination of tones and white noise

Roland TR-808
–
The Roland TR-808 Rhythm Composer, produced 1980–1984

39.
Roland Jupiter-8
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The Jupiter-8, or JP-8, is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland Corporation in early 1981. The Jupiter-8 was Rolands flagship synthesizer for the first half of the 1980s, the Jupiter-8 is an 8-voice polyphonic analog synthesizer. Features include adjustable polyphonic portamento and a function for infinite sustain of notes. An assignable bender can be used to pitch or filter frequency. From the factory, the JP-8 could store 64 patches, patches could be stored to, or loaded from, a standard analog tape/cassette. The Encore JP8MK MIDI kit doubles the memory to 128 and enables the JP-8 to store and recall patches over a MIDI connection. The Jupiter-8 includes balanced stereo XLR outputs as well as unbalanced 1/4 outputs, No other polyphonic synthesizer at the time had this feature. The VCF was based on the custom Roland IR3109 IC, the VCA was the BA662, used also in Juno-6/60/106, JX-3P and TB-303. The envelopes were generated in hardware by the Roland IR3R01 chip, there are claims that early models had unstable tuning, mainly due to their panel slider encoding resolution and main control voltage generation. However, this may be limited to the first 500 JP-8s that were manufactured, beginning with serial number 171700, the 12-bit ADC was upgraded to a 14-bit ADC. This increased the resolution of the controls but had little to no effect on the sound quality. The soldered-in battery typically lasts ten years or more, ranking these boards among the lowest-maintenance of their generation, units in good condition still fetch more at auction than most new synthesizers, suggesting that the Jupiter-8 will continue to be heard for years to come. While the characteristic sound of the Jupiter-8 can be heard on songs from the early 1980s onward. For example, Alicia Keys can be playing one in the video for the number one hit No One. Throughout the production of the JP-8 there were several changes, starting at serial #171700 the D/A converter on the Interface board was changed from 12-bit to 14-bit. This change was mainly to improve tuning stability. The problem with the 12-bit digital-to-analog converter on the original JP-8 is that it could cause the autotune to be inaccurate in some instances, some say to avoid these early JP-8s while others say they havent experienced tuning problems. Starting at serial #242750 the LEDs of the display were changed to brighter ones, starting at serial #282880 the JP-8 came standard with a DCB port

40.
Jesse Saunders
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Jesse Saunders is an American DJ, record producer, film producer and entrepreneur. He is one of the pioneers of music, often cited as the originator of House music by critics. His 1984 single, On & On, co-written with Vince Lawrence, was first record with a house DJ as the artist that was pressed, Chicago Mayor Richard M. Daley declared July 17,1997, as Jesse Saunders and the Pioneers of House Music Day in Chicago. He is also a member of the National Academy of Recording Arts. House music first got its start within the walls of Chicagos Warehouse nightclub, as the music moved to the wider community, the sound significantly changed and what developed is House music as it eventually came to be known. Instead of relying solely on disco and R&B like Knuckles, Saunders expanded his musical repertoire and fused it with the turntable trickery that remains a staple to this day. As a DJ he would accentuate desired moments in songs through loops and repetition, Saunders was born and grew up on the south side of Chicago, Illinois in the 1960s and 70s. He attended St. Columbanus for Kindergarten and Reavis Elementary School where his mother, Saunders mother, a Roosevelt University graduate in Early Childhood Education, was his primary caregiver and a great supporter of his sporting and music pursuits. Jesse then went on to enroll in Shoesmith Elementary School so that he could get from under his mothers watchful eye, in the Gifted Program, Jesse learned to program and operate computers at the age of 10 years. He was also selected to perform and tour in the Chicago Childrens Choir, Jesse eventually graduated from Charles S. Deneen Public School, then went on to study and graduate at Hyde Parks Kenwood Academy. During this time, he eas selected by the City of Chicagos Youth Action program which groomed exceptional student athletes to turn into professional athletes. During his high school years at Kenwood Academy, Jesse was mentored by his step brother, DJ Wayne Williams. Jesse eventually ended up at the University of Southern California in Los Angeles studying Communications, Saunders took an early liking to music, beginning with piano at age five and eventually making his way through every instrument available to him. Amongst his early influences were Aretha Franklin, Fleetwood Mac, Smokey Robinson. He also became fascinated with sports, displaying his greatest strengths in baseball and tennis, Saunders was also an honors student, attending the same high school where the likes of Chaka Kahn and R. Kelly also attended. At the age of sixteen, Saunders became exposed to Chicagos night club scene, enthralled by the sounds of Frankie Knuckles and it wasnt long before he became a nightclub headliner, and in 1982, he opened up his own nightclub, the Playground. Attendance figures soon outnumbered those of the Warehouse and Saunders used the opportunity to incorporate his original material into his sets. By 1983 he was producing his own music and in early 1984 he released the first official House music record along with Vince Lawrence, On & On, on the label they made together, Jes Say Records

Jesse Saunders
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Jesse Saunders

41.
Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series

42.
Korg Poly-61
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The KORG Poly-61 is a programmable polyphonic synthesizer released by Korg in 1982, as a successor to the Polysix. It was notable for being Korgs first knobless synthesizer - featuring a push-button interface for programming, dispensing from the Polysixs knobs, the Poly-61 also moved to a hybrid tone-generation system, using digitally controlled analog oscillators or DCOs, in place of the Polysix more retrograde VCOs. In 1984 a MIDI version, the Poly-61M was released featuring basic MIDI implementation, the Poly-61 offers two DCOs per voice. DCO1 provides sawtooth, pulse, and PWM waveforms, dCO2 has only sawtooth and square. The filter has the controls for cutoff, resonance, keyboard tracking. Some of these are limited by the poor parameter resolution. Keyboard tracking is simply on or off for example, and resonance, the final component in the audio path is a VCA. It can be driven by the generator or a CV/Gate pulse. NEC D8049C -8 bits,11 MHz,40 pins, Supply Voltage = 5V There are 2 of them on the CPU board, one is a Programmer, the 8049 has 2 kB of masked ROM as well as 128 bytes of RAM and 27 I/O ports. The µCs oscillator block divides the incoming clock into 15 internal phases, thus with its 11 MHz max. crystal, some 70% of instructions are single byte/cycle, but 30% need two cycles and/or two bytes, so raw performance is closer to 0.5 MIPS. The minimum instruction length is 8 bits and the maximum length is 16 bits. The envelope is an ADSR type, all parameters can only be set to one of 16 values. There are 6 SSM-2056 analog envelope generator chips used in the Poly 61 and this means there are only 16 possible settings for each of the ADSR parameters. The LFO is a triangle wave that can be routed to the DCOs or VCF. It has a delay before it is triggered. Ray Parker Jr. FM Static The Faint Com Truise Heizraum Studios Kanjo Twenty Four Hours Homeshake

Korg Poly-61
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Poly-61

43.
Roland TR-707
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The Roland TR-707 Rhythm Composer is a programmable digital sample-based drum machine built by the Roland Corporation, beginning in 1984. The TR-707 was a staple in early music, particularly with acid house. It is also a staple of almost all electronically produced Arabic pop music, because the TR-707 offers a limited number of instruments sampled at 12 bits, its sound is considered dated by modern standards. The TR-727 is visually identical aside from having blue highlights on the case, the TR-505 contains a subset of samples mixed from both the 707 and 727. The TR-707 has fifteen digitally sampled sounds, which include two individual bass drum and snare sounds that cannot be triggered simultaneously, the TR-707 provides four levels of shuffle that operate globally on the rhythm, as well as flam that can be applied to any step. The device offers 64 programmable patterns, which are editable via step-write or tap-write, patterns and tracks can be stored on the device or onto an optional memory cartridge with twice the capacity. There is also an output that allows the Rimshot to trigger hardware that accepts a voltage pulse, there are individual volume sliders and output jacks for each instrument group, which is unusual for digital drum machines. Roland TR-707 Owners Manual Vintage Synth Explorer, Roland TR-707 Synthmuseum, Roland TR-707 Tr707 info page with audio clips and manual

Roland TR-707
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Roland TR-707

44.
Rip It Up (Orange Juice song)
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Rip It Up was a 1983 single by Scottish post-punk band Orange Juice. It was the single to be released from their 1982 album of the same name. The song became the bands only UK top 40 success, reaching no.8 in the chart, rip It Up signalled a departure from the sound of the bands earlier singles, with Chic-influenced guitars and using a synthesiser to create a more disco-oriented sound. The song was sampled in 2009 by British soul singer Beverley Knight on her song In Your Shoes from the album 100%, in 2014, NME ranked it at number 216 in its list of The 500 Greatest Songs of All Time. It was also included by Pitchfork at number 157 in a list of The Best 200 Songs of the 1980s, the song was recorded as part of the sessions for Orange Juices second studio album and would go on to become the title track of said album. The song also features a snatch of the riff from Boredom. The riff chimes briefly in, just as Collins namechecks the song in the lyrics claiming that. the video opens with the band in a futuristic, but cheaply constructed, control room as they sing, dance and operate various controls. The band then watch themselves on a screen as they walk down a rainy British high street dressed in incongruous. The video finally cuts back to the playing in a silver foil covered room. Rip It Up was released as a single in the UK in February 1983, the song was also released on twelve inch vinyl, with extended versions of the title track and B-side. All versions were housed in a sleeve depicting a US P-40 Warhawk fighter plane partially submerged, tail first, in the sea

Rip It Up (Orange Juice song)
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"Rip It Up"

45.
Heaven 17
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Heaven 17 are an English new wave and synth-pop band that formed in Sheffield in 1980. The band were a trio for most of their career, composed of Martyn Ware, Ian Craig Marsh, although most of the bands music was recorded in the 1980s, they have occasionally reformed to record and perform, playing their first ever live concerts in 1997. Marsh left the band in 2007 and Ware and Gregory continued to perform as Heaven 17, when personal and creative tensions within the group reached a breaking point in late 1980, Marsh and Ware left the band, ceding the Human League name to Oakey. Taking their new name from a pop band mentioned in Anthony Burgesss dystopian novel, A Clockwork Orange, they became Heaven 17. B. E. F. s first recordings were an album called Music For Stowaways and an LP called Music For Listening To. Shortly after, they completed their line-up when they recruited their friend, photographer Glenn Gregory, like The Human League, Heaven 17 heavily used synthesisers and drum machines. Session musicians were used for guitar and guitar and grand piano. Whereas the bands former colleagues the Human League had gone on to chart success in 1981. Their debut single Fascist Groove Thang attracted some attention and, due to its overtly left-wing political lyrics, was banned by BBC Radio 1 DJ Mike Read. Neither this nor any other of the four singles taken from the debut album Penthouse. The album itself proved to be a success, peaking at Number 14 on the UK Albums Chart, around this time, Ware and Marsh produced two further albums as B. E. F. The first being Music of Quality & Distinction Volume One featuring Glenn Gregory, Tina Turner, Paula Yates, Billy Mackenzie, Hank Marvin, Paul Jones, Bernie Nolan, the tracks were cover versions of songs that Ware, Marsh and Gregory had grown up listening to. The album peaked at number 25, the second album was Geisha Boys and Temple Girls for the dance troupe Hot Gossip, which used songs formerly recorded by the Human League and Heaven 17, and a track each from Sting and Talking Heads. B. E. F. took over production duties when Richard James Burgess of the band Landscape was unable to complete the album, in October 1982, Heaven 17 released their new single Let Me Go, which disappointingly charted just outside the UK Top 40. However, in 1983 the bands fortunes changed and their next single, Temptation, reached number 2 on the UK Singles Chart in spring 1983 and became their biggest hit. The song was taken from their album, The Luxury Gap. The album itself charted at number 4 on the UK Albums Chart, their highest ever position, and was certified platinum by the BPI in 1984. In the United States, their self-titled Heaven 17 album was a re-working of Penthouse, towards the end of 1983, the band helped relaunch Tina Turners career, producing, and providing backing vocals on her hit Lets Stay Together, a cover of the Al Green song

46.
Let Me Go (Heaven 17 song)
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Let Me Go is a single by Heaven 17, taken from their second album The Luxury Gap. It actually first appeared on the bands American self-titled compilation, Heaven 17 and it reached #41 on the UK singles chart, the lowest chart placement among the singles from that album but their highest at the time of the singles release. The song also spent five weeks at #4 on the American dance chart in 1983, allmusic cites it as a club hit that features Glenn Gregorys moody, dramatic lead above a percolating vocal and synth arrangement. It was one of the first commercial releases to feature the Roland TB-303, the song appeared at #81 on Q101 Top 500 Songs of All Time. 7 Single Let Me Go -4,19 Let Me Go -4,5912 Single Let Me Go -6,14 Let Me Go -4,54 It was the first track heard on the episode of That 80s Show. The distinctive bassline and drum machine is sampled on Ce Jeu, lyrics of this song at MetroLyrics

Let Me Go (Heaven 17 song)
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"Let Me Go"

47.
Disc jockey
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A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments

Disc jockey
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A DJ performing at an event
Disc jockey
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Technics 1200 MK2, Technics 1210 MK2, and Pioneer DJM-500 shown in a common DJ configuration
Disc jockey
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A DJ at Sundance Film Festival 2003
Disc jockey
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A young woman plays a gramophone in an air raid shelter in north London (1940).

48.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them

49.
Chicago
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Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage

50.
Overdrive (music)
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Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain. Distortion is most commonly used with the guitar, but may also be used with other electric instruments. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, the terms distortion and overdrive are often used interchangeably, where a distinction is made, distortion is used to denote a more extreme version of the effect than overdrive. Fuzz is a used to describe a particular form of distortion originally created by guitarists using faulty equipment. Distortion, overdrive, and fuzz can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers, speakers and by digital amplifier modeling devices and these effects are used with electric guitars, electric basses, electronic keyboards, and more rarely as a special effect with vocals. The first guitar amplifiers were relatively low-fidelity, and would often produce distortion when their volume was increased beyond their design limit or if they sustained minor damage. Around 1945, Western-swing guitarist Junior Barnard began experimenting with a rudimentary humbucker pick-up, in early rock music, Goree Carters Rock Awhile featured an over-driven electric guitar style similar to that of Chuck Berry several years later, as well as Joe Hill Louis Boogie in the Park. In the early 1950s, pioneering rock guitarist Willie Johnson of Howlin Wolf′s band began deliberately increasing gain beyond its intended levels to produce distorted sounds. Guitar Slim also experimented with distorted overtones, which can be heard in his hit electric blues song The Things That I Used to Do, Chuck Berrys 1955 classic Maybellene features a guitar solo with warm overtones created by his small valve amplifier. Rock guitarists began intentionally doctoring amplifiers and speakers in order to emulate this form of distortion, according to other sources Burlisons amp had a partially broken loudspeaker cone. In the late 1950s, Guitarist Link Wray began intentionally manipulating his amplifiers vacuum tubes to create a noisy and dirty sound for his solos after a similarly accidental discovery. Wray also poked holes in his speaker cones with pencils to further distort his tone, used electronic echo chambers, the recent powerful and fat Gibson humbucker pickups, the resultant sound can be heard on his highly influential 1958 instrumental, Rumble and Rawhide. In 1961, Grady Martin scored a hit with a fuzzy tone caused by a faulty preamplifier that distorted his guitar playing on the Marty Robbins song Dont Worry, later that year Martin recorded an instrumental tune under his own name, using the same faulty preamp. The song, on the Decca label, was called The Fuzz, Martin is generally credited as the discoverer of the fuzz effect. Rhodes offered The Ventures a fuzzbox he had made, which used to record 2000 Pound Bee in 1962. The best-known early commercial distortion circuit was the Maestro FZ-1 Fuzz-Tone, manufactured by Gibson, in May 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record Satisfaction. The songs success boosted sales of the device, and all available stock sold out by the end of 1965. In music the different forms of linear distortion have specific names describing them, in the context of music, the most common source of distortion is clipping in amplifier circuits and is most commonly known as overdrive

Overdrive (music)
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A well-used "Turbo Distortion" guitar effect pedal made by Boss
Overdrive (music)
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The guitar solo on Chuck Berry 's 1955 single " Maybellene " features "warm" overtone distortion produced by an inexpensive valve amplifier.
Overdrive (music)
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The Ibanez TS9 Tube Screamer is a popular overdrive pedal
Overdrive (music)
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A pair of 6L6GC power valves, often used in American-made amplifiers

51.
Acid House
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Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and squelching sounds of the Roland TB-303 electronic synthesizer-sequencer, Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, Acid house brought house music to a worldwide audience. The influence of house can be heard on later styles of dance music including trance, breakbeat hardcore, jungle, big beat, techno. Other elements, such as strings and stabs, were usually minimal. Some acid house fans used a smiley face with a streak on it. The origin of this usage was the bloodied smiley from Watchmen on the label of Beat Dis by Bomb the Bass, there are conflicting accounts about how the term acid came to be used to describe this style of house music. One account ties it to Phutures Acid Tracks, before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub where psychedelic drugs were reportedly used. The clubs patrons called the song Ron Hardys Acid Track, the song was released with the title Acid Trax on Larry Shermans label Trax Records in 1987. Regardless, after the release of Phutures song, the acid house came into common parlance. Some accounts say the reference to acid may be a reference to psychedelic drugs in general, such as LSD. According to Rietveld, it was the house sensibility of Chicago, in a club like Hardys The Music Box, that afforded it its initial meaning. In her view acid connotes the fragmentation of experience and dislocation of meaning due to the effects on thought patterns which the psycho-active drug LSD or Acid can bring about. In the context of the creation of Acid Tracks it indicated a concept rather than the use of drugs in itself. One theory, holding that acid was a reference towards the use of samples in acid house music, was repeated in the press. In this theory, the term came from the slang term acid burning. In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation. Several accounts claim that Genesis P-Orridge coined the term on the 1988 Psychic TV release “Tune In. ”By other accounts, while shopping in Chicago in 1986, P-Orridge came across a bin of records marked acid, indicating a corrosive liquid, and mistook it for a reference to LSD

Acid House
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The Roland TB-303 bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.
Acid House
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Beat Dis by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.